YONG HOU
Hou Yong is a professor at the Shanghai Theatre Academy, doctoral supervisor, first-class cinematographer, and the president of the Chinese Society of Cinematographers. His cinematography works include 29 films such as “The Horse Thief,” “The Blue Kite,” “The Opium War,” and “The Road Home.” His film directing works include four films: “Jasmine Women,” “The One Man Olympics,” “Hope Road,” and others. His television directing works include five series such as “The Great Revival,” “Eastern Battlefield,” “The Rebel Princess,” and others.
His works have won multiple awards, including the Golden Rooster Award, the Hundred Flowers Award, the Chinese Society of Cinematographers Award, the Huabiao Award, the Five One Project Award, the Jury Grand Prix at the Shanghai International Film Festival, the Silver Bear at the Berlin International Film Festival, the Best Film Award at the Tokyo International Film Festival, the Golden Lion at the Venice International Film Festival, the National Honor Award at the Cannes International Advertising Festival, and the Best Long-form TV Drama Award at the Seoul International Drama Awards. Hou Yong has personally won the Best Cinematography Award at the Golden Rooster Awards four times.
1. 您在职业生涯中获得了许多奖项，今年又是 2024 年 FilmLight 色彩奖的评委。您认为能获奖的调色作品的关键因素是什么？
能获奖的调色作品的关键因素分为两部分：1，基础调色任务完成度；2，个性特色与艺术探索深度。基础调色任务完成度包括：色彩还原真实度、冷暖对比与和谐；整体色彩基调掌控；色彩的自然美感；色彩的表现性作用（对剧情展现、情绪渲染、意象表达的帮助）等方面。个性特色与艺术深度探索是指在完成基本调色任务基础上有较为独特、新颖的色彩个性表达；影片色彩流所形成的旋律感和节奏把控；色彩的色调、冷暖以及意象表达方面有非凡的创新设计和尝试，并且不但与剧情内容完美贴合，而且更充分地发挥出色彩的表意作用。
You have received many awards throughout your career and are a judge for the 2024 FilmLight Colour Awards this year. What do you think are the key factors for a color grading work to win an award?
The key factors of an award-winning color grade can be divided into two parts:
- completion of basic colour grading tasks
This includes accuracy of color reproduction, harmony and contrast of cool and warm tones, overall control of color tone, natural beauty of color, and the expressive role of color (its contribution to the portrayal of the plot, emotional rendering, and imagery expression).
- unique characteristics and depth of artistic exploration.
This refers to having unique and novel color expressions on the basis of completing the basic color grading tasks; the sense of rhythm and control formed by the film’s color flow; extraordinary innovative design and attempts in terms of hue, cool and warm tones; and imagery expression, which not only perfectly fits the plot, but also fully utilizes the expressive role of color.
2. 您将在参赛作品中寻找什么特别点？
我希望寻找到在前面所说的第2点上有出色表现的作品。也就是个性特色与艺术深度探索方面。
What special points will you be looking for in the entries?
I hope to find work that excels in the second aspect mentioned earlier – unique characteristics and depth of artistic exploration.
3. 您是上海戏剧学院教授、博士生导师、导演、电影摄影师，也是中国电影摄影学会会长。你如何在不同角色之间兼顾，如何相互补充？
我之前很多年是从事电影摄影和影视导演的一线创作工作，做摄影师时间较长。后来从2012年开始在上海戏剧学院任教。在教学过程中发现对自己多年的创作进行系统的理论化梳理和总结是非常重要的，我对此也非常享受。这对于教学来说当然是非常有利、也是非常必要的，而更有帮助的是，它加深了自己对电影创作的系统理解以及大大提升了之后的创作质能。因为之前在创作中大都是在感性层面的即兴创作，为什么那样做？其性质和作用为何？这些都不去考虑。现在明白：知其然亦知其所以然，方能探其深而得真谛。这样在教学中，不仅能教导学生具体怎样做，还能让学生们懂得为什么这样做，以及这样做所得的点与摄影、与电影的线和面是怎样的关系，也就是局部与整体的关系。
You are a professor at the Shanghai Theatre Academy, a doctoral advisor, a director, a cinematographer, and the president of the Chinese Society of Cinematographers. How do you balance and complement these different roles?
For many years, I have been engaged in frontline work in cinematography and film directing, working as a cinematographer for a long time. Later, in 2012, I began teaching at the Shanghai Theatre Academy. During the teaching process, I found that systematically theorizing and summarizing my many years of creative work is very important, and I enjoy it very much. This is certainly very beneficial and necessary for teaching, but more importantly, it has deepened my systematic understanding of film creation and greatly improved the quality of my subsequent creations.
Previously, most of my creative work was done on an emotional and improvisational level without considering why I did it that way, the nature, and the effect of it. Now, I understand that understanding the reasons behind actions allows one to explore deeper and grasp the true essence. In this way, in teaching, I can not only instruct students on how to do something, but also explain why it should be done that way, and how these actions relate to the broader aspects of cinematography and film – that is, the relationship between the parts and the whole.
4. 您对电影调色有何看法，它是如何随着时代的进步而演变的？
电影调色是摄影造型体系中一项重要环节，是辅助摄影创作为影像锦上添花的摄影后期工作。早期胶片时代的调色程序称为配光或调光，是利用减色法原理调整红绿蓝三个印片光号比例来完成的。它只能对一个镜头进行整体的色彩调节，即只能以一组印片光号为基本单位进行调色，也不能对镜头间不同区域或不同色域做单独调节。而今数字化影像时代的调色全然打破了这一限制，对镜头间任何区域或色域甚至任何段落都能随意调节，使得调色程序大大增加了修正原始镜头画面色彩的空间，为摄影师的创作提供巨大的可能性。就此一点而言，数字化调色对于影像造型体系实在是一个伟大的进步。
What are your views on film color grading, and how has it evolved with the progress of the times?
Film color grading is an important part of the photographic styling system, enhancing the imagery in post-production to complement the cinematography. In the early days of film, the color grading process was called color timing or grading, which was done by adjusting the ratios of red, green and blue lights using the subtractive color method. This process could only adjust the overall color of a single shot, using a single set of light ratios, and could not separately adjust different areas or color ranges within a shot.
In the digital imaging era, color grading has completely broken these limitations. It allows for arbitrary adjustments of any area or color range within a shot, or even any segment between shots, greatly increasing the space for correcting the original shot’s colors. This provides cinematographers with enormous creative possibilities. In this regard, digital color grading is indeed a great advancement for the imaging styling system.
5. 作为导演和电影摄影师，您与色彩的关系是什么？
往大里说，色彩是认识世界万物的快捷通道，是人类情感交流的有效工具。影像创造者用色彩向观众传达他们对事物的客观认知和情感认知。因此，色彩的认识和表达的双重功能对于电影导演和摄影师来说就像眼睛一样，将自己眼睛的感知变成影像，再让观众的眼睛来感知。而具体来说，我在十年教学中渐渐对色彩的研究增加了浓厚兴趣。通过比较深入的研究，我认识到虽然色彩完全是人类视觉和心理的感性产物，是光和物的相互作用下再对人的感官和心理产生作用的情况下产生的，但是其中却深藏着神奇微妙的千变万化以及神秘莫测的奇迹和规律有待我们进一步深入探究。
最近几年，在对数字化影像色彩的来龙去脉及其优劣有了深入思考之后，我越来越为当今的数字化影像色彩系统感到忧虑。数字化影像全面彻底取代传统模式以后，现在极度人为制造的数字化影像色彩真的能够作为当代及后代人认识世界的有效工具吗？也就是说，这种经过过度人为算法所得到的色彩，是否能够相对准确地传达人类视觉对自然的色彩感知？
去年我参加FilmLight 举办的一场讲座，FilmLight 的色彩科学家们为摄影师和调色师提供了Chromogen 影片风格创作工具，令我印象深刻，我觉得这个工具能够在胶片色彩和数字系统产生的色彩之间达到最佳的平衡。
As a director and cinematographer, what is your relationship with color?
Broadly speaking, color is a quick pathway to understanding the world and an effective tool for human emotional communication. Visual creators use color to convey their objective and emotional perceptions of things to the audience. Therefore, the dual functions of recognizing and expressing color are like eyes for film directors and cinematographers, transforming their visual perceptions into images and then letting the audience perceive them. Specifically, over ten years of teaching, I have gradually developed a strong interest in the study of color. Through in-depth research, I have realized that although color is entirely a product of human visual and psychological perception, arising from the interaction of light and objects and their effects on human senses and psychology, it harbors magical, subtle, and ever-changing miracles and laws that are mysterious and worth further exploration.
In recent years, after deeply thinking about the origins and pros and cons of digital image color, I have become increasingly concerned about the current digital image color system. Now that digital imagery has comprehensively and thoroughly replaced traditional methods, can the extremely artificially manufactured digital image color truly serve as an effective tool for contemporary and future generations to understand the world? In other words, can this color, produced by excessive artificial algorithms, relatively accurately convey human visual perception of natural colors?
Last year, I attended a seminar hosted by FilmLight, where FilmLight’s color scientists introduced Chromogen, a look development tool for cinematographers and colorists. I was deeply impressed by it and believe this tool can achieve the best balance between the colors produced by film and those by digital systems.
6 – 您和张艺谋导演合作过多部作品，您能告诉我们更多关于您与张艺谋的合作、他的风格和电影中的色彩处理吗？
我作为摄影师和张艺谋导演合作是在二十几年前的事了。那时张艺谋导演的风格就是极度风格化，集中体现在他对作品的色彩构成设计上。强烈、夺目、高对比度的大色块是他过去几乎每部作品的标志。主要是通过人物服装和场景道具各方面突出某种颜色，例如《红高粱》《大红灯笼高高挂》《我的父亲母亲》中的红色。到《英雄》更是将整个影片用红、黄、蓝三种色调分成三个段落，极尽大色块影像构成之能事，力求强色彩视觉冲击之能效。红色部分是过去、黄色部分为想象、蓝色部分是真相。角色在不同的段落中分别穿着颜色与段落色调相一致的服饰，环境和道具也跟随服装相应改变色彩，从而形成统一而强烈的色彩倾向。可以说《英雄》是最典型、最极致、最能代表张艺谋色彩美学精神的作品。近些年，张艺谋已经不太迷恋大红大紫的张扬重色造型，而是反其道行之，追求简约单纯的轻色风格。比如《狙击手》的灰绿色调、《悬崖之上》的青白色调，都是带有消色的清谈色调。更有甚者的是《影》，几乎将五颜六色全部放弃，追求传统中国画式的墨色晕染，形成一种浓墨淡彩的独特风格。直到不久前公映的《坚如磐石》，张艺谋已经全然超脱，完全看不到他当年强烈极致的色彩美学的影子。
You have collaborated with director Zhang Yimou on multiple projects. Can you tell us more about your collaboration with him, his style, and the color treatment in his films?
My collaboration with director Zhang Yimou as a cinematographer dates back more than twenty years. At that time, Zhang Yimou’s style was extremely stylized, primarily reflected in his color composition design for his works. Strong, dazzling, and high-contrast large color blocks were the hallmark of almost every one of his past films. He prominently featured certain colors through character costumes and scene props, such as the red in “Red Sorghum,” “Raise the Red Lantern,” and “The Road Home.”
In “Hero,” the entire film is divided into three segments using red, yellow, and blue tones, making full use of large color block imagery to achieve strong visual impact. The red segment represents the past, the yellow segment represents imagination, and the blue segment represents the truth. Characters in different segments wear costumes that match the segment’s color tone, and the environment and props change color accordingly, creating a unified and intense color tendency. “Hero” can be considered the most typical, extreme, and representative work of Zhang Yimou’s color aesthetics.
In recent years, Zhang Yimou has moved away from the bold, intense color schemes and instead pursued a simpler, more subtle light color style. For example, the gray-green tone of “Sniper” and the cyan-white tone of “Cliff Walkers” are all light, desaturated tones. Even more notable is “Shadow,” which almost entirely abandons a wide range of colors, opting instead for the ink wash style of traditional Chinese painting, creating a unique style of dense ink and light color. In his recent film “Under the Light,” Zhang Yimou has completely transcended his previous intense color aesthetics, showing no trace of the strong, extreme color style of his earlier works.
7 – 您能告诉我们关于您执导的电影《茉莉花开》中色彩的处理方式吗？您如何处理 30 年代和 80 年代的不同时期的影像风格的？
我在《茉莉花开》的色彩设计上的确动了一些心思。影片讲述的是一家祖孙三代三个女性的故事。茉、莉、花三代女性每人自成一章，分别以三个不同时代分为三章。由章子怡一人分别扮演三个女性。因此从直观造型上区分三个不同人物和年代是影片必须尽力做到的事。仅就色彩方面来说，就必然要划分为三部分以求区别。色彩划分的依据是以色彩表意的功能为标准。
首先确定的是中间第二部分50、60年代的色彩基调，来源于那个年代给我留下的深刻印象。那是大跃进、大炼钢铁、文化大革命的火红年代。对那个人人群情激昂、个个亢奋狂热的动荡时代，我们似乎是毫无选择地确定了橙红色。这个选择偏重感性化。它蕴含着热情、欲望、妒忌和危险的明确意向。
之后确定的是80、90年代的第三部分，那是经历过疯狂动荡之后拨乱反正、改革开放、充满未来希望的新时代，我们选择了代表理性、克制、慈爱、宽容的蓝色作为色彩基调，与影片最后一章内容的情绪气质完全相应。应该说这是一个比较理性化的选择。
最后是第一部分30、40年代。对那个时代的上海，似乎所有人都有自己对它所形成的主观概念或想象，也有太多影视作品对它有所展现。诸如灯红酒绿的十里洋场、花枝招展的旗袍洋装、华洋混杂的外滩南京路等等。而我们注重的是女性小人物在时代潮流中的命运起伏，如同茉莉花般清馨娇柔。根据苏童原著小说《妇女生活》对茉莉花青芽和上海潮湿环境中生长在屋边墙头的藓苔的细腻描述，以及个人对那个时代的想象，我们选择了绿色的基调。绿色代表青春、生长、清新、自然的含义，对应了女主人公茉的清涩虚荣、初出茅庐、不谙人事。同时，绿色既不是暖色也不是冷色的模糊性、不确定性以及多重可能性，正符合我们对那个时代的认知和剧情内容的属性。对第一章绿色的选择是理性与感性相结合而产生的。
《茉莉花开》的影像风格与影片整体风格相一致，以新古典主义美学思想作为指导，以故事、人物、情感、女性主题为重点，踏踏实实用心创作的作品。不求新奇与特异。影片的影像风格主要通过三个部分不同的色彩基调的设计和处理得以具体呈现。而不同的色彩基调则是通过环境色彩、服装、道具以及光色处理等方式得以实现。
Can you tell us about the color treatment in your film “Jasmine Women”? How did you handle the different visual styles of the 1930s and 1980s?
I indeed put a lot of thought into the color design of “Jasmine Women.” The film tells the story of three generations of women in a family. Each of the three generations—Mo, Li, and Hua—has her own chapter, set in three different eras. Zhang Ziyi plays all three women, so distinguishing the three different characters and eras visually is essential. Regarding color, the film is divided into three parts to achieve this distinction. The basis for color division is the expressive function of color.
First, we determined the color tone for the middle part, set in the 1950s and 1960s, based on my deep impressions of that era. It was the time of the Great Leap Forward, the Great Steel Smelting Campaign, and the Cultural Revolution—a fiery red era of mass enthusiasm and fervor. For this turbulent time, characterized by high excitement and fervor, we almost inevitably chose orange-red. This choice is more emotional, embodying clear intentions of passion, desire, jealousy, and danger.
Next, we determined the color tone for the third part, set in the 1980s and 1990s, a new era of correction after the chaos, reform and opening up, and future hope. We chose blue, representing rationality, restraint, kindness, and tolerance, aligning perfectly with the emotional quality of the film’s final chapter. This choice is more rational.
Finally, for the first part, set in the 1930s and 1940s. Everyone seems to have their own subjective concept or imagination of that era’s Shanghai, with many films showcasing it—the bustling streets, glamorous cheongsams, the mix of Western and Chinese cultures on the Bund and Nanjing Road, etc. We focused on the fate of ordinary women in the tide of the times, delicate like jasmine flowers. Based on Su Tong’s novel “Women’s Life,” which delicately describes jasmine buds and the moss growing on walls in Shanghai’s humid environment, and my imagination of that era, we chose a green tone. Green represents youth, growth, freshness, and nature, corresponding to the protagonist Mo’s naivety, vanity, and inexperience. Additionally, green’s ambiguity, as neither a warm nor a cool color, and its uncertainty and multiple possibilities align with our understanding of that era and the plot’s nature. The choice of green for the first chapter combines rationality and sensibility.
The visual style of “Jasmine Women” aligns with the overall style of the film, guided by neoclassical aesthetics, focusing on the story, characters, emotions, and the female theme, created with care and diligence. The film’s visual style is mainly presented through the design and treatment of different color tones in the three parts. These color tones are achieved through environmental colors, costumes, props, and light color treatments.
8- 作为一名老师，您对新调色师有什么建议吗？
前面提到现在数字化影像的调色技术，对镜头间任何区域、任何色域或者任何段落，甚至对于任何色彩的色相Hue、色度Chroma、明度Lightness都能任意调节。这当然对于调色工作来说大大增强了修正影像色彩的可能性。但是有一项原则一定要切记：作为后期调色师并不能随意使用这些功能！为什么？因为每个镜头画面中的色调包括影调、构图、运动等等，都是摄影师经过事前深思熟虑后在现场精心打造而成的，其中有摄影师及其团队的珍贵心血和辛勤汗水，还有导演、美术设计等人的指导创意。用现代观念来理解，就是只有摄影师和主创拥有镜头画面的创作权和版权，而调色师并没有。从尊重创作的角度来讲亦然。这是一个工作责任和职业道德的问题。另外，还要牢记一则真理，那就是：对于高质量的原始镜头画面所进行的任何调色改动，都必然破坏其原始数据的阵列组合结构，使其影像质量得到减损。调色改动幅度越小减损越少，调色改动幅度越大减损越多，二者成正比关系。
然而，如果一旦可以随意对画面进行调整，你能保证你的美术基础和色彩修养足以圆满完成任务吗？不会化神奇为腐朽吗？也许你初生牛犊不怕虎会自以为可以，但是我要跟你说，真正能够做到让调色为画面锦上添花的调色师犹如凤毛麟角。而这些屈指可数的调色师其实都是真正有深厚美术修养和功底的艺术家。所以，仅有一些美术理论基础，即使你能熟练操作调色软件中的所有功能也是完全不够的。你必须深入研究和努力修练绘画，深刻理解色彩艺术的真谛，提高整体艺术素养水平等等，才能成为一个合格、优秀的调色师。
As a teacher, what advice do you have for new colorists?
As mentioned earlier, with the current digital image color grading technology, any region, any color range, or any segment between shots, even the hue, chroma, and lightness of any color can be adjusted arbitrarily. This undoubtedly enhances the potential for correcting image colors. However, one principle must always be remembered: as a post-production colorist, you cannot use these functions arbitrarily! Why? Because the color tone, including lighting, composition, movement, and more in each shot, is meticulously crafted on-site by the cinematographer after thorough consideration. It embodies the valuable efforts and hard work of the cinematographer and their team, as well as the creative guidance of the director and art designer.
In modern terms, the cinematographer and the main creators hold the creative rights and copyright of the shot, while the colorist does not. This also applies from the perspective of respecting creation. It is a matter of professional responsibility and ethics. Additionally, remember one truth: any color grading changes made to high-quality original footage will inevitably disrupt its original data array structure, thus reducing image quality. The smaller the color grading adjustment, the less the reduction; the larger the adjustment, the greater the reduction—these are directly proportional.
However, if you can adjust the image freely, can you guarantee that your artistic foundation and color taste are sufficient to complete the task satisfactorily? Will you not turn magic into mediocrity? You might think you can, but let me tell you, truly achieving enhancement through color grading is rare. These few exceptional colorists are actually artists with profound artistic skills and taste. Therefore, having some basic art theory and being proficient in operating color grading software is not enough. You must deeply study and diligently practice painting, profoundly understand the essence of color art, improve your overall artistic literacy, and more to become a qualified and excellent colorist.
9- 你如何与你的调色师合作？你们通常是在前期还是在后期开始进行创作？
以往与调色师合作的情况根据每次拥有的时间和条件不同而情况各异。多数是影片开拍以后制片方才能确定后期公司，因此只在后期调色中与调色师合作的情况居多。而前期就与调色师进行必要沟通的案例较少。这显然是较理想而完美的合作方式。记得胶片时代做摄影师时，每部影片都是提前确定洗印厂并且每次都必须做好感光测定，确定洗印条件。不仅事前就与调光师做好沟通，而且拍摄期间还经常约请调光师到拍摄景地参观，进行现场勘查讨论。数字时代，时间成本越来越珍贵，这种合作方式就很少出现了。但是，数字调色技术的强大功能和工作效率远远在胶片调光之上，在调色过程中能够直观调色效果，单就这一点就是胶片调光望尘莫及的。最近做导演这些年间，还有过在两部影视片中摄影师与调色师在拍摄现场进行调色的经历，那是非常棒的工作模式，令人难忘。在拍摄现场调出第一版的效果，无论对于摄影师还是调色师都是最直接、最鲜活的影像感受，最接近摄影师的原始设计，也为后期的精准调色提供了难能可贵的标准。希望有一天这种调色模式能够成为常态。
How do you collaborate with your colorist? Do you usually start the creative process in pre-production or post-production?
In the past, my collaboration with colorists has varied depending on the time and conditions available for each project. In most cases, the production team only finalizes the post-production company after filming has begun, so the collaboration with the colorist usually happens during the post-production coloring phase. There are fewer instances where necessary communication with the colorist occurs in the pre-production stage, which is evidently the more ideal and perfect way to collaborate.
I remember that during the era of film, as a cinematographer, every film required pre-determined labs, and each time, sensitivity tests had to be conducted to determine the processing conditions. Not only was there communication with the color timer in advance, but the color timer was also often invited to visit the shooting locations for on-site inspections and discussions during the shoot. In the digital age, as time costs become more precious, such collaboration methods have become rare. However, the powerful functions and efficiency of digital coloring far surpass those of film color timing. The ability to visualize the color effect directly during the coloring process is something film color timing could never achieve.
Recently, in my years as a director, I have had experiences where the cinematographer and colorist conducted coloring on set for two different film and television projects. This was an excellent working mode and a memorable experience. Getting the first version of the color effect on set provides the most direct and vivid visual experience for both the cinematographer and the colorist, closely aligning with the cinematographer’s original design. It also offers invaluable standards for precise post-production coloring. I hope that one day this coloring mode can become the norm.
10- 您目前在中国面临的主要职业挑战是什么？
目前在中国面临的主要职业挑战在我看来就是管理的科学性与有效性问题。这是一个极为广泛又非常具体的问题，存在于各个行业和各个阶层。也正是造成各行业普遍内卷的根本原因。我采访过金融和科技行业的中层专业人员，令他们最为不解又无奈的事情就是内卷。这已成为当今中国职场年轻人最普遍、最为焦虑的问题。但是站在管理者的角度来思考，可能立即会茅塞顿开：就是充分填满上班时间。如果外事填不满，就用内事来填。这样才能让员工感觉公司业务繁忙、蒸蒸日上，对公司坚定信心，避免员工无事生非。说到底这是一种管理理念和方法。同时也体现出管理者以蛇吞象、急于求成的心态。
就影视界现状来说，电影产品全面商业化，影视策划、投资者唯以票房为标准，这并非问题。而令人困扰的是全面商业化的电影产品，虽然都是商业大片，有些票房达到惊天数据，但却鲜少真正优秀的作品。我接触过很多电影项目的投资人、管理者和营销人士，他们对于当下的电影市场和应该拍什么样的电影所持的观点总是千篇一律、人云亦云，这也许就是电影现状的潜在原因。对于创作者来说，现在面临的主要挑战就是如何在这样的管理环境下做出真正有艺术品质、有社会责任、关注生活、风格独特、商业性强、被广大观众喜闻乐见的作品。
What are the main professional challenges you currently face in China?
The primary professional challenge in China, as I see it, lies in the scientific and effective management issues. This is an extremely broad yet very specific problem that exists across various industries and levels. It is also the fundamental reason for the widespread rat race across different sectors. I have interviewed mid-level professionals in the financial and technology industries, and what perplexes and frustrates them the most is fierce competition. This has become the most common and anxiety-inducing issue for young professionals in China today.
From a management perspective, the reason becomes clear: it’s about fully utilizing work hours. If there aren’t enough external tasks, internal tasks are used to fill the time. This approach makes employees feel that the company is busy and thriving, thereby maintaining their confidence in the company and preventing them from causing trouble due to idleness. Ultimately, this reflects a management philosophy and method, as well as the mindset of managers who are eager for quick success.
In the context of the current film industry, the complete commercialization of film products is not an issue, nor is the fact that film planning and investors focus solely on box office performance. The problem lies in the fact that, despite the commercial success of many blockbuster films and their astonishing box office numbers, there are few truly excellent works. I have interacted with many film investors, managers, and marketers, and their views on the current film market and what kind of films should be made are always the same, drift with the current. This may be the underlying reason for the current state of the film industry.
For creators, the main challenge now is how to produce works that are truly artistically valuable, socially responsible, life-oriented, uniquely styled, commercially viable, and widely loved by audiences within such a management environment.
11- 您现在在做什么项目？
目前在准备运作两个剧本，都是现实题材。一个正在写。
What projects are you currently working on?
I’m currently preparing two scripts, both based on realastic subjects. I’m writing one of them.